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British accents, Billy Bragg, protest music, treatin' ladies decent, British accents, J.

Salinger, punk rock, social commentary, a sense of humor and British accents. Everything above, except, sadly, for good ol' jokes. The acoustic duo of Daniel Ellis and Nathan Griffin has two modes: Ellis and Griffin do a lot more than just strum a couple of chords; guitar leads pop up throughout the record, adding little flourishes here Nortj there.

When the super serious mode kicks in, though, the band comes off a little too self-righteous. But while it drops some much needed stannd bombs, it also contains an unwieldy lyrical flow. The instrumentation doesn't do anything remarkable until the ominous, tense outro.

Still informative, just not as memorable.

Sometimes the songs' plots overwhelm and dampen the music. The main character, Gretchen, pulls a Squeaky Fromme by pointing a gun without any Tppen in the chamber at a politician.

Oddly, in gun-toting America, Squeaky was arrested and sent to prison. In the UK, however, Gretchen eats lead.

Turns out she sacrificed herself to get a note read on the news about how Tappwn holds us all down. The note itself is One night stand in Tappen North Dakota of catchy; the steps this Catcher in the Rye enthusiast took to noght it on the air are kind of juvenile. But while "Daughter" is the Sorrows of Young Werther of folk-punk songs -- romantically suicidal to the point of idiocy -- it goes out on a rousing note.

Dworkin's Bastards is a mixed dtand plenty of people will think the record is obnoxiously intense about politics. Some might get turned off by the occasionally shrill vocals, or the lack of drums, or the number of song titles that reference Billy Joel "We Definitely Didn't Start the Fire," "Scenes from a Shit Restaurant".

But set aside the fact that Stanv Bastards isn't a pop record and one just might notice how honest and furious the thing sounds.

One Night Stand in North Dakota probably won't get mainstream recognition, but that's the culture the band is fighting.